Tag Archives: Ian Riggs

SWING / DANCE! — JAKE SANDERS QUINTET (May 18, 2011)

Professor Jim Fryer tells his students, “Dancing is what music looks like; music is what dancing sounds like.”  A swinging mantra if ever there was one, and the videos below prove his points.

I’ve been admiring the swinging banjo / mandolin playing of Jake Sanders for some time now — but it didn’t prepare me for the groovy jazz he and his Quintet offered a room full of dancers on May 18, 2011. 

The occasion was a swing dance extravaganza, “White Heat,” sponsored by Dance Manhattan on a perilously rainy night.  But the music dried my clothing and lifted my spirits in four bars.  You’ll see and hear what I mean.

Jake’s colleagues were bassist Ian Riggs (whom I’d met at Teddy’s), guitarist Michael Gomez (new to me, but a wizard), Will Anderson (a young swinger who’s seen all over town), Gordon Au (one of my heroes, here on cornet).  They were tucked away in the corner of a small gymnasium-like room (with pillars) where a small number of intrepid dancers swirled around. 

The fine photographer Lynn Redmile was herself one of the dancers, and she tells me that the other twirlers and dippers included Caroline Ruda, Eli Charne, Sam Huang, Eve Polich, Tina Micic, Pauline Pechin, Kathy Stokes, Steve Rekhler, Richard Kurtzer, Neal Groothuis, Charles Herold, Nina Galilcheva, Marty Visconti, Sallie Stutz.  (If you were there and haven’t been included in this list, do let me know.)

Here’s I WONDER WHERE MY BABY IS TONIGHT, a Twenties tune (known more widely because Django and Stephane took it up in the late Thirties).  The lyrics tell us that a dancing fool who could do the Charleston took the singer’s Baby away, and the singer is both morose and homicidal (“I’d like to kill the man who made the Charleston,” which I hope wasn’t meant for the sainted James P. Johnson) while the music has a Charleston-interlude at regular intervals – – – an early postmodern episode in Twenties pop:

ROYAL GARDEN BLUES:  what other jazz classic brings together the 1940-1 Goodman Sextet, Bix, Louis, Basie, Eddie Condon, and is still being swung in 2011?  Jake’s tempo is in the groove: they’re solid senders!

A straight-ahead reading of BRAZIL, which rocks:

DARKTOWN STRUTTERS’ BALL (with or without the apostrophe) is one of those songs that’s usually played too fast — perhaps as homage to dancing off both (y)our shoes.  Here it’s “very groovy, very mellow,” to quote Mr. Gaillard:

Want to see and hear more?  I’ve posted seven other videos at my YouTube channel — http://www.youtube.com/user/swingyoucats — which (as the old record jackets used to proclaim), “You’re sure to enjoy.”  I hope so!

NEW OLD JOYS in BROOKLYN (April 21, 2011)

In the short time I’ve known them, I’ve come to trust trumpeter / composer / arranger Gordon Au and singer / Mills Sister  / air-fiddler / Tamar Korn as artists whose path leads to valuable, inquisitive music that embraces the old (whether that’s embodied by Connee Boswell or Bob Wills) and the new (original approaches to their material, original compositions, or reinventing a wide variety of songs).

So when I found out that they would be one-half of a group led by five-string fiddler Rob Hecht, with bassist Ian Riggs, I made another journey to Williamsburg, Brooklyn — to Teddy’s, a restaurant / bar / music room [fine food, delightful Pilsner, delightful staff] situated at 96 Berry Street — with video camera and tripod.  The results appear below!

Stuff Smith and his Onyx Club Boys have been gone for about seventy-five years, but the combination of violin and trumpet, swinging out, is still intoxicating.

But first: the quartet was mostly unamplified, and listeners easily unnerved might at first find the balance between music and conversation not to their liking.  See my postscript below for further ruminations on this subject.

Here’s the Rob Hecht Quartet, featuring Gordon Au, Tamar Korn, and Ian Riggs.

They began with what might seem an odd choice for an opening song, WHEN DAY IS DONE — but the sun had set a few hours ago, and the song is one of those that blossoms at a variety of different tempos:

Then, everything locked into place with that 1929 assertion of Love on Good Behavior, AIN’T MISBEHAVIN’:

How about another love-affirmation: you’re the Beloved my mother told me to wait for?  Or, to put it another way, EXACTLY LIKE YOU:

I think the river closest to Teddy’s would be the East River — not exactly what Hoagy Carmichael may have in mind as a pastoral spot, but it would do as an inspiration for this rendition of LAZY RIVER:

The hopeful optimism of Dorothy Fields and Jimmy McHugh in ON THE SUNNY SIDE OF THE STREET is always welcome:

Tamar sat out for an enthusiastic trio reading of LIMEHOUSE BLUES:

If you listen closely to the lyrics, SOME OF THESE DAYS is one of the most finger-waggling of songs: YOU BE GOOD OR ELSE YOU’RE GOING TO WAKE UP ALONE!  I hope no one in the JAZZ LIVES audience has to hear it sung to him or her for real — but we can be safe with this rocking version:

GIVE ME A KISS TO BUILD A DREAM on comes from a rather patchy movie, THE STRIP — but when your pretty song is introduced by the Great Romantic, Louis Armstrong, how could anything possibly go wrong?  And Tamar offers it in her most tenderly hopeful way:

Another superbly uplifting song about the possibilities of imagining a way out of your troubles is Harry Barris’ classic WRAP YOUR TROUBLES IN DREAMS — I believe in this song, especially when Miss Korn so earnestly tells us it’s all possible:

Although we cherish everything that is NEW and IMPROVED, what is better than OLD-FASHIONED LOVE, however you might define it?:

And something else sweetly and enduringly old-fashioned: a bounding rendition of WHEN YOU WORE A TULIP (And I Wore A Big Red Rose), which will keep me elated for a long time.  You too, I hope:

P.S.  Although the crowd at Teddy’s applauded in the right places and no one shouted at the television sets over the bar in response to someone scoring a goal, the sound of their conversation is noticeable.  But someone who wishes to do so can, as I did, concentrate on the music, which was varied and lovely.  And my new line of response to people who complain about inattentive audiences will be, “Yes, I know.  If you and your friends had been there, listening, there would have been that much more delighted attentive silence in the room.  Come on down!  Join us next time!  Or, as Eleanor Roosevelt never said, ‘Better to go to a jazz club and swell the ranks of the inspired than sit at home and complain about the unenlightened.”